Anthony Quinn: An Original | The Hollywood Collection

(dramatic music) – [Anthony] I’ve done 260 pictures by now And I’m proud of anything I do, because I try to do it my best It’s never as good as a lot of other people can do, perhaps, but it’s my best, and that’s all I look for in a man (dramatic music) – You are never bored working with Tony He’s not only a very talented actor, he’s a very interesting human being – Tony never looked like a classic leading man But that was an advantage – He had within him the quality to be able to play everything from a heavy to a flap-down, slap-down comedian That’s his range – When you look at one of his great performances, it’s always mind boggling, it is mind boggling, to think that here was a man who came from a poor family, couldn’t speak English, and the courage of that man to reject and push away from all the disadvantages of his life It’s a wonderful story It’s a miracle story It’s a great story for all of us (dramatic music) – I was born in the middle of a Mexican Revolution My father fought in it with Poncho Villa Over twine and the sound of cannons going on, and my mother hiding me in a coal wagon, taking me out of Mexico into El Paso When you’re young, everything is wonderful, even the shacks that I lived in (laughing) I mean, I didn’t know that I was poor At the age of three years, I was playing with a little train that I had, a little yellow train, in the puddle, that was in the middle of the street, and I saw a pair of big feet (chuckling) suddenly come and stand by me, and I looked at the feet, and I looked up, up and up and up and up, and I saw this man looking down at me I said, “Hello, Pop.” He said, “How are you, elephant?” And my Pop and I were reunited after three years – He really admired his father, and he still admires his father very much His father was very important to him – My father was born in Mexico from a Mexican mother and an Irish father When we came here to Los Angeles, and he became an assistant cameraman at one of the most exciting places in the world, a movie studio called Selig’s, and he didn’t earn very much At this studio, I met all the famous actors of that time, and all the famous actresses of that time It was the life around motion pictures that I loved The people were busy That Rudolph Valentino would be doing a scene and I’d stop to watch him Then he’d mess it up, then they’d say, “All right, let’s try it again,” and Valentino then would play his part and so forth, and Wilma Bank be looking so glamorous So, then unfortunately my father died, and I had to become the man of the family – At 11, Father was at a great disadvantage Apart from having a speech impediment, he just didn’t speak the language He could not speak English – A friend of mine named Nadini, who’s father made all the small figurines for the local cemetery, and he taught me how to sculpt and make the names and so forth From there on (laughing) I had about a thousand jobs It’s useless to try to name – He had to provide a living for his grandmother, for his mother, and for his sister So, he became a man very early He never played That’s one thing that he doesn’t understand his children, they liked to play He can’t understand that because he never experienced playing – He did drop out of school early on, he had to to help support his family

He read, and read, and learned about art, and learned about He had so many jobs from a boxer to a preacher, to starting out on the stage with Mae West – How marvelously strange it was to meet a woman like Mae West She was dressed in white in this dingy office, but somehow she gave it a glamor, and as I entered the door, she reached over, and she touched my muscle My arm She said, “I’m not feeling you up, boy, “I just want to see what you’re made of.” Touched the other arm Says, “Now, I’m gonna get a little personal, “’cause I wanna know “with your legs can stand up,” and felt my legs Said, “Very good.” And she gave me the part I became an actor But after the play, it was a terrible period, because the Depression was really on I started out on the road, ran into some pretty rough people, and that was a very embarrassing thing They stormed me out many times Anyway, my brother saw something in the papers, he says, “Tony, look, look.” I said, “What?” “Just look “DeMille is looking for Indians.” And I went directly to the studio, and there was a big dude, a big huge man, and he said, “You’re Indian?” and I say, “I am Cheyenne.” So, they were offering me $75 a day for doing a part, and I got on the stage, and I rode a horse, and I see a fire And I look around, I get off my horse, I go to the fire with my gun ready, and quickly I hide behind the tree “Cut! “Cut!” I hear DeMille say “Tell the boy not to walk out of the scene.” Get off the horse, go stand by the fire, he says, “Enough “This boy is not gonna do the part.” I suddenly got very mad I said, “Mr. DeMille, you’re an idiot “You don’t know what you’re doing.” He said, “What? “You speak English?” “Yeah,” I say, “I speak English very well “Listen, and by the way, that fire is a white man’s fire “I know there’s a white man around here “What am I gonna stand here and let him kill me? “In the light? “I have to get behind a tree or somewhere “where I can kill him.” And he says, “I didn’t see the scene that way “I saw you standing there.” And suddenly off stage, a wonderful quiet voice says, “Mr. DeMille, “the boy’s right.” It was Gary Cooper And DeMille turned around, he said, “All right, we’ll change the scene.” (laughing) We changed the scene (speaking foreign language) – As my mother tells the story, he was making a film with C.B. DeMille, The Plainsman She went to watch them filming, and was in awe of this man – Wiped out with his whole battalion – And I don’t think he knew who she was at that time, just this lovely woman visiting the set – There was a very pretty girl there, and I sat there, and I had no great lines I didn’t know how to approach a woman So, I said, “Do you like Thomas Wolfe?” one of my favorite writers, and she said, “I’ve never read him.” I thought, well, what kind of woman is this? Has never read the greatest writer in the world – And he said, “If you want to get to know me, “read Thomas Wolfe “And when you read Thomas Wolfe, you’ll know me.” – Next day, she came back, said, “I didn’t like it “I don’t like it.” I said, “I’m gonna teach you to like it “You’re gonna marry me.” And she says, “Am I?” I said, “Yeah.” So I married her Her father was rather disappointed, ’cause he And when we announced to him

that we were gonna get married ’cause he imagined that I was gonna bring all my tribe from the Cheyenne nation, and sleep in his front yard But, the wedding took place, and there were a lot of terrible things happened My mother wasn’t invited My wife and I lived 26 years together, and she gave me five wonderful kids, whom I love insanely – It was probably strained in the beginning between my father and DeMille, but as DeMille saw the talent that this man really had, and the genuine idealism and the genuine feeling for my mother, and that he was gonna take care of her, and he didn’t ask anything of DeMille, he never asked a thing of him, that DeMille finally respected him – People behind his back was saying that he got jobs because of the connection of the famous DeMille name I think I’m right in saying that he once said to me that far from it being an asset, overall, it was something that he had to overcome – Most of the suffering that Tony did in the early part of his career was two-fold One, he was the son-in-law of Cecil B. DeMille, and two, he grew up in a town in which Mexicans were not very popular – She’s got a hat on – Where is my hat, I’ve got my hat on – Hat? – Yeah hat (speaking foreign language) – Oh, sombrero Sombrero – Come on, let’s get outta here (crowd shouting) – In his early days, he was given these parts that I, I mean, he was very, very happy to get these early parts But he was always given either a small villain, or a, an Injun, or a Mexican – I can only remember Quinn as one of the wonderful heavies of the time He was a killer, a knife man, whatever – You’ll make arrangements for the local police for the raid as I told you? – No, Major – Well, why haven’t you? – Because there will be no raid Will you gentlemen please raise your hands? – [Major] What! – I wouldn’t try that if I were you There’s a car in the rear, Major – Oh, uh, have all the arrangements been made for Captain Drummond’s departure? – Yes sir, all arrangements Drummond’s plane will explode in midair – That means that Captain Drummond and his party will vanish at about 100 miles at sea – Dirty parts, small dirty parts The fact that he had to play these, and did play them with gusto, I know he felt that he was being denigrated, and kicked around, and not respected – I didn’t see why Mexicans had to be bad people And since, all that Those were the only parts I was allowed to play, except after when I went to Warner Bros., (laughing) and, Mr. Jack Warner cast me as an Italian A little different He had a script called Sweet Music, Sweet Night Music, and I must say, I read the script, and it was horrible It was a horrible script And I said, “Jack, “I would,” he said, “Just a second, just a second “Now, Dick Wolff turned me down, “Julia Garfield turned me down, “Boggart turned me down, “George Raft turned me down, “everybody’s turning me down “You, I’m turning down.” So, I said, “What does that mean?” He says, “It means, you can quit the studio.” Now, quitting at the salary I was getting was rather embarrassing ’cause I was getting $750 a week And that was keeping the family in very good stead in those days So, I went across the street and I called up my agent, Charlie Feldman, and I said, “Charlie, well I haven’t got a job.” He said, “Yeah? “Well, listen, I just got you another contract “with 20th Century Fox for $900 a week, “and you’re playing in Blood and Sand with Rita Hayworth “and Jerome Powell.” Hey, Juan, remember that horse we stole? Remember what happened to it? – What happened? – We ate the horse – You did? How did it taste? – Excellent

(sighs) Those were our good days We spent all our time fighting the bulls and each other We were great rivals, even then (upbeat music) (crowd cheering) – I was in my early 30s, and I’d had a fairly good run in Hollywood I’d done rather well Bought a house Send my kids to school But, I wasn’t happy with my life, because I was still playing ethnic parts I played Indians, gangsters, outlaws, Chinese warlords, all sorts of character parts the first 10 years of my career, which led me to believe that (laughs) certainly, could have been made more obvious from Hollywood’s side that I would never be considered a leading man – People used to look at Quinn, and tell him to his face, “You’ll always be a supporting “actor, a character actor “You’ll never be “a Hollywood leading man.” And he was determined to prove them wrong – They offered me a picture called Black Gold, which was about an Indian who had a little Chinese adopted son that he loved very much, and my wife Katherine played my wife in the picture I finished the picture, and I heard the picture was very good I went home, and I said to my wife, “Pack up the kids, “we’re moving.” She said, “Why?” I said, “I wanna go to school and learn to act.” When I came to New York in 1947, went to the Actor’s Studio, started working with Sam Wanamaker in the theater, and I learned how to act all over again And I worked for $350 a week for Yule Brenner and Marty Ritt Did a lot of television shows in those days Did a lot of television (dramatic music) – Marco, Marco! Let me go, let me go! – Why, because your husband’s here? There’s no need to play the faithful wife now – Marco, it’s not true, it’s not true – No? You shoulda seen her a moment ago “Don’t leave me,” she says “Wait for me!” Your wife has such warm lips, Cousin – Lucas, stop it! – I’m gonna kill you, Lucas – Listen to him boast When we were kids, I used to whip him once a day and twice on Sunday – Well, you had help There’s no help now – My men will be back – They won’t be back – In 1947, Marlon Brando had gotten great acclaim in Streetcar Named Desire I had just done a play called Gentleman from Athens Gotten critical acclaim for it here on Broadway Then, Mrs. Selznick chose me to do Kowalski, with Uta Hagen in one of the biggest hits in New York at the City Center theater – Tony was doing Kowalski with this incredible, animal vitality, and he was doing it beautifully, but he was adding an element which I had not seen with Brando, and it worked so beautifully, it was humor He was so funny The audience was cracking up, but at the same time that he was funny, he kept the reality of the character and, and he wasn’t using humor to distort the character at all It actually enhanced the character – [Anthony] Then I was offered a picture called Viva Zepata which won me an academy award – He was Zapata, it was one of the great performances on film today I mean, if you studied Viva Zapata, which I have, you’ll see that Quinn never put a foot wrong in that part – Better be careful what you say to me – Did you take the land away from these people? – I took what I wanted I took their wives, too

– What kind of a man are you? – I’m a man, not a freak, like my brother – Get out! – Look, I can’t even buy a bottle of tequila We beat Diaz He’s living in a palace in Paris We be why there’s a rich man in the United States I have to beg pennies in my own village from people who never fired a gun I’m a gentleman, I act like a gentleman, I take what I want And don’t you or anybody else try to stop me – Quinn wanted desperately to become a Hollywood leading man Why? Because it was a challenge Again, it all goes to back to his early life, to his early roles, when he felt that people were treating him with disrespect – Going through that terrifying world of Hollywood, working opposite such actors as Gary Cooper and Robert Taylor, and all those really fantastic looking men, it was terrifying, you didn’t see a career for yourself And I went searching all over the world for a career for myself I went to Italy, because after winning the Academy Award, Dino De Laurentiis offered me wonderful pictures there He offered me, Cavalleria Rusticana, he offered me Attila, and I did some other pictures for some other directors Each one had his own talent, own peculiar talent Fellini had this dream world that he moved in and moved the camera through this (speaking softly) (dramatic music) Zampano’s here – Zampano’s here (whimsical music) – He probably has the good intention of giving other actors space, and his massiveness I mean, of course, not only of physical size, but also of his massive presence as an actor, it’s such that it’s difficult for him to give space to someone who doesn’t know how to defend himself well, and find space by himself – He has one of those great faces, one of those shapes, one of those physiques, which on the screen really suggest the idea that you are in the presence of someone who seems to be able with just a flick of his eyelid, or with just a breath, to communicated something secret, something intimate (dramatic music) (audience applauds) – Italian cinema of that era came from Neo-Realism That is, the scenes were shot on real locations Instead of hiring extras, we performed the clown numbers in front of real audiences composed of real people The extraordinary thing was that even though Anthony Quinn was accustomed to a way of working that was entirely different from ours, he immediately adapted to this commedia dell’arte manner of filming – Fellini had very, very definite ideas as to what the character was doing, and it was entirely against my concept, ’cause I was an actor I wasn’t just a puppet And I said, “Federico, you and I have to come to an agreement because “I don’t agree with you “And sometimes I love what you’re doing, “I adore what you’re doing, “but I don’t agree with you how to do it “‘Cause you can tell me to move my head “I mean, I feel stupid “What am I thinking, what am I doing? “I have to have a motivation.” “What, a what?” “A motivation.” (laughing) So, we had a wonderful time making the picture, but I don’t think it was the easiest for him I don’t think I made it easiest for him – I was never really able to communicate with him directly, because I always saw him as Zampano And it is difficult to have any kind of communication with a person like Zampano This is especially true for a person like myself Maybe he represents a dark side, a deep identification with this obscurity, with this darkness, with this brutality – Better get in

– I don’t wanna work anymore for you I never wanna see you again Never! (crying) – Come here Come here! (Gelsomina crying) (speaking foreign language) Hey! Where you going? Hey, come here Come here What’s the matter with you? (dramatic music) Hey Want me to take you back to your mother, huh? (dramatic music) (crying) My life really started all over again when I did La Strada I think that La Strada convinced people that I was an actor, and it opened up all doors for me (dramatic music) – My father loved this little place on the other side of the world, and he felt artistic again He felt like an actor because it was suffering over there And here was like it was easy, you know, and he didn’t like that (dramatic music) He doesn’t like it easy, ’cause he never had it easy He went that way about parts You know, when he did Hunchback of Notre Dame, for example, he developed this terrible sickness – [Anthony] When they offered me the part, I wasn’t prepared, and I got sick My face was actually bloated, and sores all over me – This was in France, of course, and he went to all the specialists, and they couldn’t figure out what it was They didn’t know if it was an allergy, whatever – [Anthony] Gina said, “I will not make the picture “I’ll wait till Tony gets well.” And it was costing the producers a lot of money – Finally, they said, “Tony, stop being Quasimodo.” And he opened his eyes, and he said, “You’re right.” And so, they realized that he was that much into the part He had become the Hunchback (crowd shouting) – Water Water! I’m thirsty! I’m thirsty! (crowd shouting) (crowd cheering) – [Woman] We’re with you, Esmeralda – [Gina] He was so tall, so big, and I wondered, how he could become the monster – More More – I remember when he was made up as a hunchback The look on his eyes, the smile, innocent, and in spite of his ugliness, he succeed to give trust to Esmeralda, the gypsy, the character I was playing in the film (dramatic music) – Was he, he, he made me steal – I know I understand I am less afraid of you, now You are my friend – Don’t go away Stay here – I don’t– – You sleep there – Esmeralda! (crowd shouting) – Stop, my friends They are my friends – Don’t worry, nobody can take you away Nobody! – Don’t you kill my friends! They’ve come to save me – You want this! – Oh no! (Quasimodo laughing) (crowd shouting) – [Quasimodo] You go to sleep (dramatic music) (screaming) (dramatic music) – He is always ready to take a gamble, always ready to get the best effect

– If Tony played an ugly character, he didn’t hesitate to play that ugly character, whether it was La Strada, or whatever it might be, and he always found another dimension within that character, which I think is so exciting For example, you play a weak character, he found where the character was strong Played a strong character, he found where the character was weak He had an honesty and a truthfulness about all the characters that he’s played – [Anthony] Working opposite a wonderful actor like Kirk Douglas, he was really amazing as Van Gogh It was really almost frightening because he was so convincing in the part that I knew that I had to be convincing as Gauguin – When I paint a pheasant in the field, I want a field of sun pouring into him like a dozen– – Is that what you think you’re doing when you overload your brush, when you slap paint on like putty, when you make your trees writhe like snakes, and your sun explode all over the canvas? With all your talk of emotion, what I see when I look at your work is just that you paint too fast – You look too fast – Whatever you say, brigadier Maybe you’re right – I’ll never forget that scene when suddenly that look came on Tony’s face as he played Gauguin, and he realized that what Van Gogh was doing was really much more important than what he was excited about And it developed into a very exciting scene of anger and jealousy – What do you know about toil? When have you done a stroke of manual labor in your life? Well, I have I’ve dug ditches in the stinking heat of the tropics I’ve worked at the docks in weather so cold my hands froze to the ropes And I can tell you there’s nothing beautiful about it I did it so I could go on painting I didn’t have a brother to support me (dramatic music) – [Anthony] I was nominated for the Academy Award for Lust for Life – When he received his award, of course he was pleased, but that only gave him much more of an incentive to do better, and he never stopped trying to do better just because he got an award – Probably the unique thing about all these parts is the way that Tony connected with the other actors They were not just wonderful solo performances He always felt for the actors surrounding him, for the part surrounding him So it became a whole (speaking foreign language) – She, she doesn’t want to drink the water All right, she’s superstitious – I don’t drink water, it makes me sick – Here (speaking foreign language) (speaking foreign language) Sorry (speaking foreign language) Sorry Sorry (speaking foreign language) Sorry – Sorry (laughing) – Hey, she speaks pretty good, huh? – Tony’s a very, very open actor He’s He’ll set things in the rehearsal, and at set, I would say, on a scale of one to 10, it’s set to about 7 1/2, eight, but within those two other numbers, he can improvise a great deal – Look, I’ll kill you, I love you, Bene I made you my son, I’ll kill you What do you think you can walk up to me like that, huh? Say you’re going away? I made you my son I wanna give you everything, my whole place, my own flesh and blood You can’t talk to me like that, Bene – Here I was a fledgling actor in Wild is the Wind, and I didn’t, I was really scared I was so scared But I knew that he was making me feel comfortable by not ever saying to me, “Hey, Tony, be comfortable,” because I think that’s the best way for me to make an actor uncomfortable But just by accepting me in the most normal way – He is very generous to his fellow actors, and excited by what they’re giving as well, and always incorporating what’s happening around him – I have seen many, many actresses come on the set to watch Tony, and you know that they were, not necessarily falling in love with him, though I’m sure some did, but they were definitely attracted to him – Tony, himself, was a very sexual animal He came onto the stage every morning to work, and he was full of it You could see it You could glory in it You could envy it

(upbeat music) When Tony played a love scene, you knew it When he said to a girl that he loved her, you believed it That’s not true of a lot of actors That’s why Tony was so singular to work with (upbeat music) – Quinn brings to the ladies, to whom he plays opposite, a quality of believability as a lover and as a star – Sophia felt that when she was working with him she had a chance to reach back and give certain things on to the screen, which would exhibit her in a very, very truthful and unusual way Tony demanded that from you He demanded that you be honest with him – Can you get married, and go to Somerville, and leave your daughter locked in that room? – Oh, Rose – Can you do that for anybody? Tell me Can you? – I had some fights with Tony in those days, and finally, I began to back off when I realized that he was as right as I was most of the time, and that I preferred his personality to mine on the screen (dramatic music) – What happened? – She made me cook the sausage – Oh thank God Thank God – Quinn has often been accused of being a first-take man I don’t believe that’s so He’s a very thorough actor, well grounded He knows the value of rehearsal He knows the value of trying, and trying, and trying, and reaching, and reaching, and reaching, for even a little piece of business He’s aware of that, lives it, is part of it – I remember on Navarone there was a moment when he was playing a scene, and I said to Tony, “Tony, let’s do it again.” And he said, “What’s wrong with it?” Tony gets very voluble sometime It’s wonderful And I said, “I think it was a little too full,” which was my way of saying, I thought you overacted it And he burst forth in great anger, and said, “What do you mean, too full, what do you mean? “Do you mean that I overacted?” I said, “Well, okay, Tony, “if you wish to put it that way, yes.” – He said, “Don’t you understand? “Don’t you understand I’m a bargain basement? “Treat me as that, treat me as a bargain basement “I have my wares, I show you my wares “Your job is to choose them.” So, I said, “That’s fine, Tony.” And from then on, that’s the way we worked – Now you You are not of this company, you say? – No sir, no sir, I’m not – You are liar – But Your Excellency– – A liar Now, come, that didn’t hurt Where are the explosives? – I don’t know, Your Excellency Your Excellency, I swear to you, I do not know – Where are the explosives? – I can’t! – Chains off – I can’t – Chains off! (speaking foreign language) – I’m sick Please, I’m sick I’m sick I’m sick – Sometimes, he did burst out, and would take no nonsense from anyone, and so you saw this explosion Not often I mean, it wasn’t something that he kept hanging there ready to make people fearful of, but it could happen, and I’ve seen it happen It’s a burst of fury The next moment, it’s gone and all is forgiven, and you adore the man That is what women find attractive about Tony and his fellow artist, this inner, explosive strength – Tony is always seems to be is a sort of a seething volcano of emotion and feeling that just pours out of him I find him very moving, and in the film we did together, Requiem for a Heavyweight, as Mountain Rivera, he was just beautiful – The doc said if you take a couple more bangs on that left eye, you gonna end up selling pencils Got sclerotic damage – The brute in the ring,

the good-natured brute in the ring, and the wonderful human being, the humble human being outside the ring, and that’s all my father is, really – [Stanley] See, I think of fighters as poets that are inarticulate, that only can express themselves with their fists So, I tried to bring out the poetry of Mountain Rivera, even in his voice I tried to find him singing a melody as he talked, and he had that funny kind of voice He was looking always for the beautiful side of life – The Requiem for a Heavyweight was that sort of poetry of the fighter, the boy who had nothing, and who was, had a kind of honor toward what he was doing – To you, I’m a big ugly slob, and I look like a freak But I was almost a Heavyweight Champion of the world Why don’t you put that down at papers and place Mountain Rivera was almost the Heavyweight Champion of the world – We were supposed to do a love scene, and as they were going to bed, the girl turns and turns out the light, and he says, “What’s the matter? “You can’t stand to look at me?” And I said, wait a minute, I said, I’ma keep the light on, ’cause I can’t bear not to look at him And Tony thought that was interesting, and said, “Look, why couldn’t we do it this way, that it’s sort of “the purity of the girl that makes him stop and say no?” – Better go – A good actor always draws upon their inner sense of humanity, their sensitivity to humanity around them, and without that sensitivity, you can’t give the kind of performances he gives without observing other people and acknowledging where people come from and where he came from – It’s only to the depth that you dare go into a character that you learn from him, and I had a wonderful experience learning from all these characters that I played It is my pleasure that you dine with me in Wadi Rum! The tone of that film was to play against space, against the desert, and the desert is awfully, awfully, awfully big I had to play Auda a little bit larger than life, but I loved playing that part I loved playing in the desert (dramatic music) I carry 23 great wounds all got in battle, 75 men have I killed with my own hands in battle I scatter and burn my enemy’s tents, I take away the flocks and herds The Turks pay me a golden treasure, yet I am poor because I am a rebel to my people (crowd cheering) – Tony could play heroes, could play villains, he could play anything, really He was limited only by the way he looked, and the way he sounded – I don’t sense any barrier to Tony Quinn He gravitated from one kind of role, which he seemed to fit physically, to another which he fit much better physically and mentally and emotionally He was the incarnate leading man, incarnate star He had no illusions or delusions that went with it, but he was the star in no uncertain terms He even became, to a certain extent, temperamentally – When he wanted something, he wanted it, and he did everything he could to get it That’s how he is in life And that’s how he was with my mother He fell in love with her, he wanted her, and he got her They were working on a big movie together called Barabbas, and he saw this woman, and he said, “Who’s that, who’s that?” And they said, “Oh, that’s Jolanda “That’s the girl, she helps with the costumes.” He says, “Oh, I want her to fit me “I want her to be the one that takes care of me.” He says, “But she can’t “She takes care of the extras, and today we have “2,000 extras, and “she’s in that department.” He says, “Then I don’t shoot.” And you know for three hours, they had to stop everything,

and you know how expensive that can be He married my mother a few years later, and out popped Francesco, Danny, and me (dramatic music) – [Valentina] He wants both families to be one big happy family He loves children, and I think the more children he could have, the merrier he’d be – Once you’ve earned his friendship, and you do have to earn it, you can count on that friendship, just as his family They can count on him He’s not just a star besotted by his own stardom – The first time I met him was a long time ago, many years ago on an American film called The Secret of Santa Vittoria Back then I had a film camera that I bought myself, and I filmed him a lot When I first met him, I had just graduated from the Academy, so it was a tremendous surprise for me to meet a great actor like him And I watch him all the time – Quinn’s character can best be delineated by a scene out of Secret of Santa Vittoria as a star He was chased around the kitchen by Anna Magnani with a rolling pin, and she hit him several times, and it had to hurt, even though it was a phony rolling pin But he disappeared up a flight of stairs, and then she chased him She tripped and fell and broke her ankle And she lay there writhing on the floor He returned to the scene and peered down at her and said, “You never fool around with Quinn.” Star statement if ever there was one – They were more than two stars, really I touch with my hands the essence of what a star is, while working, living, eating with them during the lunch break And then you see the great stars, great actors that is, are people of great simplicity, but very communicative in real life as well as on the screen In real life, Anthony Quinn is very warm, very communicative He’s a very outgoing guy, so I found it easy to get to know him His spirit is so close to ours, so Italian – I just asked him recently, “Pop, do you feel Mexican or Latin?” He looked at me and said, “I feel Irish “I feel Russian “I feel Arabic.” (laughing) And I go, I’m sorry Pop He says, “I feel like I’m a man of the world “I’m from this Earth “If someone from Mars comes here and asks me, “I say I’m from the Earth “I don’t say I’m from Mexico, or I’m from America, “or I’m from Ireland,” and that’s how he really is – He made a lot of choices, some of them good, some of them bad, but he made them He made them, and they represented him He was unafraid to make them, and he was unafraid to be right, or unafraid to be wrong He was just unafraid – I produced a picture which (laughing) I wish I hadn’t because a producer should never allow the leading lady to tell him how the picture should be made I loved Miss Ingrid Bergman, and she wanted to make certain changes in the script which changed the script, and made a picture that should have been an Academy Award picture into just another love story It’s called The Visit My mistake was that I was gaga about her, and I just acted gaga and it didn’t play the strength of the man But later on we made another picture called Walk in the Spring Rain, which was wonderful, and we changed our attitudes (laughing) in that picture, and it was much better – You got a fine shape, Miss Roger A fine shape – Oh listen, I’m a grandmother – Oh listen, there’s a lot of woman left in you, Miss Roger, a lot of woman Miss Roger, if you belonged to me, would you let me wash your back? – That’s just something one doesn’t talk about – I like to bathe a woman, pat her dry with a big clean towel, feel her getting all warm and sleepy – You are a wonder, you are, Will Cade – Well, you might say I’m special – Oh, and vain

– No, there you’re wrong, Miss Roger It’s just that you’re never gonna meet nobody like me, at least ways, I never did Though I’d like to – One of the big things about Tony was that he wasn’t your average or conventional screen hero, or villain He wasn’t anything average and conventional He was himself, which was original, and he was unafraid to exhibit that – [Anthony] That’s all anyone needs to know about me – [Martin] You were never around Tony when you didn’t feel you were in the presence of a man with an extraordinary appetite for life – I learned this from my wife It’s the caviar, it’s not the manners – [Cochran] I brought you something – For me? – For you – Oh (chuckles) Oh, it’s beautiful I love it I want my wife to see it (speaking foreign language) – She have been told already, Senor – Does she know we’re eating? – Si, Senor – Tell her we’re waiting She’s a wonderful girl Sometimes I think I should have married the mother Much more sensible – He thinks he can do anything, and he can most of the way He’s played of his roles He’s done them, they’re on the record, on the film There’s no way to develop what he is, or what he dreams about, or what he thinks Even as an older man, he still develops the nuances which are fresh and new, and make a tremendous contribution for that reason (dramatic music) – Where is she? (dramatic music) – Perhaps we both deserve to die I’ve never had a picture that gave me complete satisfaction I really don’t know what the hell it is that I’m looking for, ’cause I write, I paint, I sculpt, I act, I do all these things, but I don’t really know I think one of these days I’ve got to find out what the heck it is I’m looking for, but, I just try to do my best at everything I’m doing – He probably paints because through that, he’s able to express himself as a man and an artist That’s not always so in film You’re at the mercy of an editor or the director, or whomever, so that I see that merely as an expression, a piece of self-expression, to the nth degree – And I’m still learning, I’m still sculpting now, which is a great undertaking at a man my age An artist keeps looking for some new thing to say, and we all get caught up in that I’m stuck with it, and I’m looking for something new to say – He never stands back and pulls himself apart He’s involved, he pays attention, and he remembers where he came from, and he has tremendous respect for that, for his roots, and it shows – You look at Tony and Tony’s life objectively as a statistic in the United States, a lot of people would write him off and say well, it’s gonna be too tough I don’t think you can make it No education, he can’t speak English, crude, rough, just surrounded with poverty Fade in 40 years later, he’s playing great roles in American cinema The greatest directors in the world want Tony Quinn to be in his films This very raw material becomes, through sheer energy and work on his part, becomes one of the finest actors that the American cinema’s ever had – Me? If I was you, I would look at mistake, and I would say, “Zorba come, or Zorba, don’t come.” – Zorba?

– That’s me Alexis Zorba – Tony was the perfect actor for Zorba He is Zorba, he was Zorba He should always be Zorba Only a man with that kind of zest for life could really play that part – Dammit, boss, I like you too much not to say it You’ve got everything except one thing: madness A man needs a little madness or else – Or else? – He never dares cut the rope and be free – Teach me to dance Will you? – Dance? Did you say dance? Come on, my boy I have no attachment to Zorba more than I have to Viva Zapata more than I have to Requiem for a Heavyweight more than I have to Lust for Life more than I have to the Lion of the Desert I’ve poured my soul into about 75 pictures, and I stand by all of them It so happen that Zorbo struck a happy meaning and a happy philosophy in all peoples The Mexicans claim that I played Zorbo so well because I did a Mexican dance in it I don’t know (laughing) (mellow music) Again (mellow music) (Zorbo laughing) Down (upbeat music) (slows to mellow music)